RELATIONS AND PROPORTIONS 

Attitude in modeling clothing is the result of the comparison of two quantities of the same properties such as linear dimensions, volumes or surface areas of the pieces of clothing.

Linear measurement is: length to the waist line, sleeve length, width of chest, thighs, etc.

The volumetric measurement is a volume value of the clothing pieces: bodice, skirt, sleeves, etc.
Measuring surfaces are values of the squares of pieces of clothing: front, back, sleeves, etc.
Relations arise in addition to the proportionality of parts of clothes and on the other its main constituent elements: color, texture, weight, lines, etc.

Known in the practice of modeling clothes natural relationships of proportionality can be divided into two groups: simple and irrational.

 A simple relationship is a relationship in which the numerical dependence of the two variables of measurements expressed as a fraction where the numerator and denominator are integers ranging from 1 to 10.

On the 1 : 1 relationship is built simple geometric shapes: square, cube (Fig. 41).

Relationship 1:2; 1:3; 1:5; 1:6 etc. given in rectangular form, the repetition of the square is a whole number of times (Fig. 42). The lower value in this case is a module, i.e. a unit of measure to a larger value. For example, a ratio of 1:4 means that the rectangle of this attitude are stacked four squares.

Simple relations 2:3; 3:4; 3:5 etc. are contained in the module, fit the whole and a small number of times in each geometry value that is included in the ratio (Fig. 43).

Thus, a simple relationship is visible clear commensurability linear and volumetric values, which is the basis of their harmonious relationships (harmony - explicit communication).

The most visually clear proportionality is expressed in a ratio of 1:1, but such proportionality is inert, inexpressive, because the compared values are equal. More expressive unequal relationship as 1:2; 1:3 etc.

You should avoid increasing numbers, the mapping relationship of proportionality. Limit simple relationships are the number to 8. Them almost can be defined as the limit of a clear perception of proportionality of the magnitudes of the perceived person.

It is often said, sleeve length is 3/4 or 1/4, coat length or jacket 7/8 1/2 (Fig. 44). This indicates proportionality-length sleeve length long sleeve length cropped coat is relatively long. Simple relations of proportionality pieces of clothing can build, both in relation to the human figure, and in relation to other parts of the clothing. In either case, get the harmonic when comparable quantities.

 Irrational relationship is a relationship of proportionality pieces of clothing obtained by a simple geometric construction, components and proportion.

 Proportions there is the equality of two relations. Such relationships include, for example, the ratio of the diagonal of a square to its side. If we denote the side of the square by a, the diagonal of a square using b, we get the ratio b:a = 1:√2, which compares the amplitude of the diagonal of a square, lower - side of the square. In Fig. 45 shows the principle of division in clothing. You can also use the ratio of the height of an equilateral triangle by half its base, where it compares the magnitude of the height h of the triangle by half its base. Composed of a proportion has the form h:a = 1:√3. In Fig.46 shows the principle of division in clothing.

The last relation differs very little from the well-known relationship, called the "Golden section". Recall that the "Golden section" is to ensure that when dividing the whole into two unequal parts, the whole must be for the most part as most of them refer to a smaller part, i.e. a:b = b:C, where a - integer b - a big part - the smaller part.

Almost the ratio of "Golden section" find graphically. So, take the segment AB (Fig. 47) subject to division. From point A perpendicular hold, and there lay cut to AC equal to half the segment AB. A straight line connecting points C and B. On this line from the point C lays the segment CD equal to AC. Then on a segment AB from point b postpone segment VE, is equal to the segment BD. So a graphical way to divide the segment AB in the ratio of "Golden section", i.e. AB : VE = VE : AE.

Approximately integers "Golden ratio" is expressed as: 3:5; 5:8; 8:13; 13:21 etc, all closer to a more accurate expression of the relationship with the increasing numbers of relationship. In Fig. 47 shows the principle of the "Golden section" clothes for her division.

These laws, of course, must be considered as a method of verifying the proportionality of the pieces of clothing and their partitioning in the simulation and drafting their harmonic relationship.
Division forms reach a constructive and decorative lines.

 Identity, nuance and contrast. Consistency relations the other major form elements between them are not based on numeric and bit different. When comparing any homogeneous primary elements of form (line, mass, color, texture) clothes possible three kinds of comparison and communication: identity, nuance and contrast.

 Identity - a complete similarity of homogeneous elements (equality) form. Harmonic connection in this case is based on the full similarity. In Fig. 48 shows a diagram of the identities of the lines, shapes, textures.

 Caveat - the ratio of homogeneous elements of the form approaching to each other by similarity. In nuanced ways, the similarities are more pronounced than the difference and the connection is formed on explicit similarity. In Fig. 49 shows a schematic detail of lines, shapes, textures, fabrics in clothing.

 Contrast call relationship with a strong inequality compare (mapped) homogeneous elements of the form. The relationship in this case is formed in virtue of the explicit differences and contrasting (Fig. 50).

Identity, nuance and contrast to suit composition are used as artistic means of building unity of form elements and their harmonic relationship. These concepts apply to all properties clothing, as spatial forms.

Examples of contrast according to the different properties of the form elements will be matching heavy and light, light and dark, black and white, shiny and rough, transparent and opaque, etc.
One should dwell on the mapping of color relationships as the harmonic relations. In the simulation, the design of the costume apparel practically combined used a little flower or two or three, rarely more.

The main colour combinations in the costume is the difference between the colors by lightness, hue and saturation.

The difference between the colors - there are their relations to each other. Here the relations are expressed as identity, nuance and contrast.

The principles for establishing the harmonic relationship of colors based on the usage of their similarities - identities, or smaller and larger differences, i.e. nuance and contrast. Color, as we know, are divided into: achromatic color, chromatic colors and achromatic colors to chromatic.

Achromatic colors have only Svetlichnyi differences (Fig. 51). Here the possible combinations of two and three colors. Two-tone relationships are built or as the nuance of two closely neighboring colors of the range (Fig. 52, a), or as a contrast between two colors far apart in the row (Fig. 52, b).
Harmonic ratio of three colors can be expressed in four main combinations of quantity and lightness:

• light, medium and dark colors equally (Fig. 53, a);
• a lot of light and convergence in brightness of the middle tones, a little dark (Fig. 53, b);
• a lot of dark and close together with him in brightness of the middle tones a little bright (Fig. 53);
• a lot of the middle tones and little light and dark tones (Fig. 53, g).

These patterns compose a harmony distributed completely and the color ranks from chromatic to achromatic colors. These color combinations are called even monochrome. More colors do not need to take, as it dramatically reduces the communication and the expressiveness of their combinations.

Patterns of chromatic relations of the colors in the drawing up of the harmony more complex. Let us examine here only the principal harmonic combination of two and three colors chromatic of the colour circle.

If we consider the color wheel, is built on two pairs of complementary colors, yellow-blue and green-red, with intermediate colors, components shestnadtsatiletnij color wheel (Appendix 1), it is possible to draw several important conclusions.

1. All intermediate opposite in the color circle complementary, as they are formed in equal amounts corresponding additional principal colors, i.e. contrast.

2. All the colors of the top of the circle - a pure yellow and an intermediate, containing impurities, is sharply different from the color of the bottom of the circle in his feeling. The color of the upper parts are called warm colors, the color of the lower part of the blue and intermediate, containing impurities, cold colors. Thus, the underlying colors in the upper and lower parts of the circle, contrasting cold and warm. Pure red and pure green, separating the warm colors from cool, neutral warmth-coldness.

3. All the colors of the right side of the circle - pure red and reddish intermediate~in the sense of sharply different colors from the left side - pure-green and intermediate green.

The boundary between them is a pure yellow and pure blue, neutral red-green contrast. Consequently, the color of the right and left parts of the circle contrast between them.

4. Between chromatic colors, there are only two contrast: warm-cold contrast - yellow and blue for more contrast - red-green.

Intermediate colors in each 1/4 part have a sense of the differences, but not contrast. At four points of the circle on the main colours - colour changes dramatically, turning to its opposite, i.e., to the additional color.

Thus, all (harmonic) combinations of chromatic colors can be divided into certain groups, emotionally and objectively different. Almost in the simulation used three groups of color combinations, sharply limited and various psychological and physical symptoms:

1. The combination of related colors (similarity, nuance).
2. The combination of kinship and contrasting colors.
3. The combination of contrasting colors.

The combination of colors in each group, thus, based on the natural harmonic relationships of the nuance or contrast.

 Related colors are located near each other within 1/4 part colour circle, connects them one of the main colors and they do not contain shades of complementary colors. Adjacent the main colors cannot be considered related because they satisfy only one requirement - do not contain shades of complementary colors. In Fig. 54 the scheme combinations of pairs of related colors.

The combination of two related colors harmonious by virtue of their kinship, proximity, similarity, i.e. based on the ratio of nuance. Such combination of soft, gentle, but very few active (static).

 Kinship and contrasting colors are located in adjacent quarters basic color wheel, e.g. yellow-
green and blue-green quarters. All related-contrasting combinations of four groups: blue-red and blue-green, yellow-red and yellow-green, yellow, red and blue-red, yellow-green and blue-green.
In Fig. 55 shows a diagram of such combinations of two colors.

The connection and harmony of kinship and contrasting colors based on sign of kinship one any color opposite of their location on the color circle, i.e. any kind of contrast.

Kinship and contrasting colors active, more flashy, elegant (dynamic).

 Contrasting colors are located in opposite quadrants of the color circle. These color combinations can be divided into four groups: pure yellow and pure blue, pure red and pure green, yellow, red and blue-green, yellow-green and blue-red.

In Fig. 56 the scheme of the combination of two contrasting colors.

The combination of contrasting colors the most vibrant, active, emotional.

More complex combinations of three colors. A balanced combination of three colors based on the principle of "triangles". Here can be several types of combinations based on the isosceles triangle, equilateral and right triangles.

1. Combination of three colors according to the principle of the isosceles triangle shown in Fig. 57. In this case, combine two related colors that lie in the isosceles triangle, and the color lying on the top of the triangle, which is almost contrast for more color.
2. A combination of three colors on the principle of equilateral and isosceles triangles shown in Fig. 58. Here the logical connection is formed by the combination of two related-contrasting colors lying on the two vertices of the triangle, and the third color, lying on the opposite apex of the triangle associated with the first two as a contrasting secondary color.
3. Combination of three colors based on the isosceles triangle shown in Fig. 59. Two matching related-contrasting colours add to their main color.

4. Combination of three colors based on the right triangle shown in Fig. 60. A connection based on connection of kinship and contrasting colors.

All combinations, based on the principles of the triangle, harmonious, active, smart.

There is no attempt to give all possible combinations, an infinite number of them, but only to focus on the significance of such compositional relations, as the relations and proportions.

 Relationships and dynamics of form. It was noted earlier property lines uniforms maintain our view on a design surface three-dimensional form, to create a dynamic visual movement.

The same property is possessed themselves of three-dimensional form when certain ratios of its basic elements.

Equality or nuance of the relationship dimensions in three-dimensional space-volume characterizes the static form. Equality or nuance of the relationship of measurement in two coordinates of the plane are also characterized by static. The cube and the square have no dynamics (Fig. 61).

The contrast in dimensions of the form creates momentum. In Fig. 62 the elongated parallelepipeds and rectangles. Clearly their dynamism. But, as can be seen from the figure, the motion here occurs in the direction of the length of these forms in both sides, since neither of these parties has the distinction.

In Fig. 63 shows a truncated pyramid and a - line silhouette. Here already created a purposeful movement of the higher value of its base to a smaller one.

In Fig. 64 shows the shape of a pear and onions. There is directional movement from a solid part to a smaller, easier parts. Dynamic forms also contributes to the property lines of the form.

Dynamics of shape also occurs when block partitioning shape into parts. In Fig. 65 shows the rectangles dissected into unequal parts. As can be seen, the dynamics in these cases, there is also aside from most of to least. In Fig. 66 shows an example of the dynamics of the number of dissected forms.

Movement occurs not only as a result of contrasting relationships in dimensions of the form, the properties of the lines of its contours, unequal articulation of the forms on the areas, volumes, mass, but the combination of two chromatic colors of one tone, but different in saturation, the two achromatic colors of different lightness. Active colors will create a movement in their favor.

In General, a strong difference state properties of form elements in their combined impact creates a dynamic shape, eye movement in the direction of more actively influencing properties.

In Fig. 67 shows some of the properties of the form of clothing, causing the dynamics up and down.

 Weight ratios and scale. Under scale refers to the ratio of the magnitude of the uniform in relation to the human figure and the size of the parts between themselves and to the whole attire.

The ratio of the amount of pieces of clothing to her General form is one of the ways to create expressive garments that are used in the composition of the costume.

The properties values of the form are also related to its mass.

About the features of the form elements "value" and "mass" mentioned above. Note that in the amplification of expression of the shape plays a big role in contrast, small size or large relative to the overall shape, its size and volume. In Fig. 68 shows the contrasts of large and small values for the General form; it is seen as visually increases or decreases the overall shape of the garment. With the magnitude of the associated equilibrium and stability of mass of pieces of clothing, and hence the value of the difference of the top and bottom of the shape, stability and instability of shape. In Fig.69 the role of the magnitude of the form in maintaining the stability depending on the differences of the top and bottom of the form. To the left are three forms of stable, right - two unstable. The magnitude of the associated in this case with emerging weight relationship.

The mass of clothing has weight, weightiness, which, depending on different conditions is expressed to a greater or lesser extent.

In the arrangement of the masses of the parts of the garment when it is divided into a top and bottom there is a need visual their trim. It is necessary to Express the stability of the entire shape as a whole. The unity and magnitude, as an expression of harmony can't exist without balance and stability.

In modeling clothes often you can see examples of solutions forms that meet the requirements of balance and stability (Fig. 70). But sometimes neglect the requirements of balance of form and build the form of dynamic, unstable (Fig. 71).